Portrait Sculpture: Rhythmic Structure and Anatomy

This class focuses on developing skills and deepening the understanding of the human head’s forms, rhythms, and anatomy. Rather than working toward a single likeness, students will create multiple head studies, reinforcing their grasp of universal structures. These studies will be recycled to encourage continuous exploration. Students should bring cameras to document sculptures that will not proceed to casting.

Following a “large-to-small” approach, the emphasis will be on mass, planes, and the organic rhythms that unify a portrait. Through this process, students will build a stronger mental map of the human head, refining their ability to convey structure and movement. The course will examine proportional variations influenced by age, gender, and ethnicity, using an average as a starting point for further exploration.

Expression is studied in two key ways:

• Head carriage, or the movement between the head and thorax
• Facial expressions, which reveal personality and emotion

By sculpting multiple heads with varying characteristics, students will discover the underlying forms and rhythms that give portraits life. The course challenges the idea that one must choose between capturing either physical likeness or inner spirit—both can be achieved through a deeper understanding of form and expression.

A portrait, at its essence, is the depiction of the invisible (spirit, personality, and emotion) through the visible (form). While capturing precise proportions will be addressed, the primary goal is to develop a dynamic and expressive approach to portraiture.

Picasso said that one could express a person’s likeness or inner spirit, being, and emotion, but not both. I disagree, and plenty of artists have proven that. This understanding of the language of facial expression taught comprehensively and systematically, should allow you to do just that. My favorite definition of a portrait is the depiction of the invisible (the particular human spirit, personality, and emotional state) by means of the visible (that person’s material form). We are after both. The means of capturing individual likenesses with precise proportions will also be addressed but not as the main topic. 

– Instructor Stephen Perkins

Learn more about artist Stephen Perkins on his website.

• Life-size head armature 
• WED Water-based clay (Laguna)
• Modeling tools
• Spray bottle
• 2 cotton t-shirts
• 2 dry cleaning or other large plastic bags
• Notebook and pen

Supply List PDF

All supplies are available in the school store, de Gerenday’s Fine Art Materials and Curiosities.

Registration and Enrollment Information

Registration and enrollment for workshops operate on a first-come, first-served basis.

• Full Payment Required:
  Registration must be paid in full at enrollment to secure a spot in the workshop. Registrants without payment or payment arrangements will not be on the roster.
• Payment Plan Option:
  If you would like to arrange a payment plan, please email caitlin@lymeacademy.edu for more information and assistance in setting one up.

Workshop Refund Policy

Please review the following refund policy for workshops.

1. 72-Hour Grace Period:
   Students may request a full refund for workshop registrations within 72 hours of signing up, provided that the workshop has not yet started. The refund request must be made within this 72-hour period for consideration.
2. Non-Refundable Credit Card Fee:
   A 3.5% processing fee will be added to credit card payments. This processing fee is non-refundable.
3. After the Grace Period:
   After the 72-hour grace period, no refunds will be issued for workshop registrations under any circumstances.

We appreciate your understanding and encourage you to contact us promptly if you have any questions or concerns regarding your registration.

Questions? 860-434-5232 ext. 202

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